互文性视域中的“梁祝”故事之当代改编

Contemporary Adaptation of the Story of “ Butterfly Lovers”from the Perspective of Intertextuality

当代出现了许多以"梁山伯与祝英台"为题材的文艺改编作品,这些作品受时代性、作家主观创作等因素的影响,呈现出不同的特点。文章选取1952年越剧电影《梁山伯与祝英台》、李碧华的小说《梁山伯自白书》、影视文学作品徐克版《梁山伯与祝英台》、马楚成版《剑蝶》等四部作品,通过分析作品在互文性视域中的改编特点及思想艺术特色,认为体裁多样性、主题丰富性是当代"梁祝"改编作品的两大特征;而不拘泥体裁是"梁祝"故事推陈出新的形式原因,在传统的爱情主题之外的充满现代意识的主题改写是"梁祝"故事不断复活的另一重要原因。

There have been many contemporary literature adaptation works with ＂Butterfly Lov- ers＂ as the theme, which are influenced by such factors as age and writers＇ subjective creation and take on different characteristics. Selecting the 1952 Cantonese opera film Liang Shanbo and Zhu Yingtai, Li Bihua＇s novel Liang Shanbo＇s Confession and the film ＆ TV literature works Liang Shanbo and Zhu Yingtai by Tsui Hark and Butterfly Sword by Ma Chucheng, this paper analyzes their adaptation characteristics and features of ideology and art from the perspective of intertextuality and believes that stylistic diversity and theme abundance are two main characteris- tics of the contemporary ＂Butterfly Lovers＂ adaptation works and that the former is the reason for bringing forth new forms from the old story of ＂Butterfly Lovers＂ and that in addition to the traditional theme of love, the theme rewriting with modern consciousness is the other important reason for the constant resurrection of the story of ＂Butterfly Lovers＂.